Tag Archives: arts week 2018

Arts Week 2018: the architectural beauty of Cook’s Camden

Kayleigh Woods Harley, project support coordinator at Birkbeck, reports on Arts Week event Cook’s Camden: The Making of Modern Housing, a talk delivered by Mark Swenarton. 

On a beautiful Monday evening in the sunlit Keynes Library, Mark Swenarton addressed a crowd of architecture-lovers about his recent book, Cook’s Camden: the making of modern housing. The London borough of Camden in the 1960s and 70s was awash with high rise social housing. But that began to change under borough architect Sydney Cook. While adhering to the need for high-density accommodation, the new designs under Cook were all about simplicity, efficiency and quality.

In 1968 Cook commissioned young up-and-coming architect Neave Brown with his first major housing development at Alexandra Road, just off the famous Abbey Road. Brown was disorganised in appearance when he presented his plans for the site to a large audience wearing the ‘office tie’ which Cook had conscientiously supplied for such occasions. Nevertheless, they were greeted with applause.

The Alexandra Road estate is a seminal example of this new architectural style. Parallel rows of houses are accessed from a central, pedestrianized street. All the houses face one another, to accord with Brown’s belief that children playing in the communal space would be better behaved if all the neighbours could watch them from the window. (Brown designed his own house this way too; he installed a first-floor balcony overlooking the garden, allowing the adults to supervise the children in comfort.) Shirking tradition, Brown’s interiors lack any space-wasting hallways or corridors and he instead created light-filled open-plan spaces with the flexibility of Japanese-style sliding partition walls. The quality of the build and materials was such that these homes – many of which were bought by their tenants under Thatcher’s right to buy scheme – are still highly desirable today.

Brown’s designs became popular with planners because of their economy of space, filling out the development area right up to its perimeter –like laying a carpet wall-to-wall – and other young architects were quick to pick up the gauntlet. Arguably the most beautiful council housing in the world is the Branch Hill estate. Cook handed the strict brief to Gordon Benson and Alan Forsyth to build homes on newly acquired land belonging to the estate of the grand Edwardian Branch Hill Lodge. To fulfil the requirement not to build above two storeys, they designed an ingenious interlocking system of maisonettes, each with a large roof terrace overlooking the verdant grounds of the old estate. The development was a not-so-subtle statement about the repurposing of previously aristocratic-owned land for the wider public’s use, giving a snapshot into the political mindset of Cook’s department.

Sadly, when Sydney Cook retired, his grand, pioneering ideas went with him and his young talented architects lost out to their less innovative peers. The political landscape shifted to adopt less progressive notions about social housing, and the architectural style of Cook’s era waned.

Mark Swenarton’s beautiful book is a labour of love which has been ten years in the making. It is published to a high standard with gorgeous original photographs of both the exteriors and interiors of the Cook era developments and new cross-sections have been drawn to modern standards. The book has proved so popular that it is already sold out, but further copies are available to purchase directly from its publisher, Lund Humphries, with more coming back in stock over the coming months.

Kayleigh Woods Harley is a project support coordinator at Birkbeck College. She has held professional service roles at other universities such as the Royal College of Surgeons in Ireland and the University of St Andrews. She holds a PGCE in secondary English teaching and a Master of Arts in English Literature from the University of Edinburgh. Alongside her full-time job, she reads classic literature, art history, architectural history and natural history, writes literary fiction and has an active interest in sustainability issues.

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Arts Week 2018: Building a hive mind through immersive art

Eva Menger, freelance copywriter and MA Contemporary Literature & Culture student at Birkbeck, reports on Bee Composed Live, an immersive art and sound project featured in Arts Week 2018

When a bee flies into your piano, there are a couple of things you can do. You can choose to ignore it, get a bit annoyed, or carefully listen to the sound it produces and simply let it amaze you. Lily Hunter Green, contemporary sound artist, composer and current artist-in-residence at Birkbeck, opted for the latter. Starting in 2014 with ‘Bee Composed’, a project that involved transforming old pianos into beehives, she is now working towards ‘Bee Composed Live’, a live performance in which contemporary dancers, music and audiovisual compositions will function as an immersive and collaborative representation of the hive mind. As part of Birkbeck Arts Week, she shares her fascinations, findings and future aspirations.

Still of video projecting the collective consciousness of bees.

Bees are extraordinary. The way in which they work is astonishingly efficient and surprisingly relatable to our own neatly organised society. What makes them unique, however, is their ability to work as a collective consciousness. Despite having their own job roles – from bouncer bees to cleaner bees and architect bees – they are not autonomous and only work as part of something bigger, a phenomenon Hunter Green suitably calls ‘the hive mind’. Sharing life footage of this process, Hunter Green shows how it promotes togetherness – a strategy she doesn’t only applaud but tries to apply to her own way of working as well. Collaborating with people from all over the world, including molecular biologists, choreographers and computer scientists, she aims to educate on the science of the hive as well as the reasons why more and more bees are dying.

Having said that, she doesn’t want people to leave her performance feeling hopeless. Narratives around pesticides, climate change and modern farming are to be taken seriously, but hopelessness can lead to inaction – and that’s where Hunter Green wants to make a change. Unlike the 1950s science fiction trend of giant insects ruining everyday life, Hunter Green is keen to show how insects are something to be inspired by. Creating an understanding of their vital role in life through art will hopefully make people see that planting bee-friendly flowers in their gardens will already make a significant difference, she explains.

A piano-turned-into-beehive.

Turning bee science into a life composition seems appropriate both due to its resemblance to Greek tragedies (if there is more than one queen bee around, a violent battle awaits) and geographical nature. As just one of several dances bees perform to communicate with each other, the waggle dance serves to navigate the way to newly discovered food sources (fun fact: the better the food, the more excited the dance). The image below shows one of the contemporary dancers Hunter Green collaborated to visualise this process.

In addition to this dance, ‘Bee Composed Live’ includes visual recordings from the piano hive and original new compositions, ultimately intending to create a simulation of the hive mind. With issues as complex as bee extinction, immersive visualizations can help to create a public understanding. Learn more about Lily Hunter Green and her meaningful work, here.

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